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Written and directed by Ingmar Bergman in 1957, “The Seventh Seal” is a fantasy drama set during the Middle Ages in which a disillusioned Knight returns to Sweden after the Crusades have ended. The Knight, Antonius Block, (Max Von Sydow) is met by the personification of Death (Bengt Ekerot) on a seaside coast and engages in a ‘running’ game of Chess over the course of several days to determine his fate. If this sounds familiar, a knight playing chess with the grim reaper, it may be because of the parodies that this film has inspired over the years. Take Ian McKellen’s cameo in “The Last Action Hero” for example:

McKellen’s character even emerges from the set of a film with the same title as Bergman’s classic, sporting the simple yet effective look of Death. However my favorite example of this imagery being parodied happens to take place in a little movie called “Bill and Ted’s Bogus journey” the sequel to “Excellent Adventure”:

Other aspects of the film have been mined for laughs as well. “Monty Python and the Holy Grail” famously depicted their own version of the flagellant scene by having a roving group of monks smacking themselves in the head while reciting lines from the Dies Irae (A Latin Hymn):

So, why all references you might ask? To press upon you (for the uninitiated) that this film is heavily lauded around the world-and therefore has been ripe for a good ribbing for over half a century now. The story deals heavily with religious themes and seriously questions organized religion through allegory and rich dialogue. In the film, every character deals with doubt in some way shape or form- it is one of the central ideas of the story after all. The two opposing ideologies of the film are represented in both the Knight Antonius, and in Jons (Gunnar Bjornstrand), his nihilistic squire who rides with him. Both characters’ personalities color Bergman’s own differing thoughts on the subject of God, “Since at this time I was still very much in a quandary over religious faith, I placed my two opposing beliefs side by side, allowing each to state its case in its own way. In this manner, a virtual cease-fire could exist between my childhood piety and my newfound harsh rationalism.” -Ingmar Bergman.

The other major theme of the story is the silence of God and how people react to this. Antonius may be dour and depressed by all of this but he never rejects the possibility of God, he simple wants some reinforcement that can prove that his life has not been wasted. He says as much when he and Jons enter a small chapel. Jons chides a local artist there for creating artwork depicting the dance of death and embracing the religious and ideological fervor that led to the Crusades while Antonius goes to confess. He asks, “Is it so terribly inconceivable to comprehend God with one’s senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe? Why can’t I kill God in me? Why does He live on in me in a humiliating way – despite my wanting to evict Him from my heart? Why is He, despite all, a mocking reality I can’t be rid of?” Shortly thereafter Antonius reveals that he is playing chess with Death and boasts of the move he has planned to cheat the supernatural foe. However, it was not a priest that was listening to the woes of the Knight, but Death himself.

During this exchange Antonius reveals his understanding of religion and the organization of it, “We must make an idol of our fear, and that idol we shall call God.” Once Death vanishes from the chapel both Antonius and Jons head into the small village and see the traveling theatre troupe we had been introduced to earlier in the film. They are composed of a married couple, Jof (Nils Poppe) and Mia (Bibi Andersson) with their infant child and Skat, the director of the troupe. Jof occasionally has visions and is the only other character to actually see Death other than the Knight near the end of the film. After a spat in the local pub involving Jof, Antonius meets the married couple outside of town and shares a meal with both of them and oddly enough- he finds his meaning in that moment with Jof and Mia on a hillside, he is inspired by the simple love of the two and embraces the gift of the natural world, not a fate handed down from above, but of the fellowship of mankind in the natural world. He then extends an offer to them to travel with him and Jons through the forest rather than risk getting the plague along their original route, even going so far as to offer shelter in his castle from the plague.

In his next turn in the game Antonius appears exuberant and Death takes notice, deviously asking if he plans to take the troupe through the forest. Antonius also takes note of the grim reaper’s inquiry and becomes well aware of the threat his newfound friends face with him. Once deep into the woods the Knight engages with Death one last time, in which Jof notices who Antonius is playing chess with and decides to escape while Death is distracted by the game. Antonius sees the troupe attempting to leave and knocks over half the board to let them escape Death’s grasp.. for now. It is this act which completes Antonius’ quest to do one meaningful deed before Death takes him. In the end Jof sees Death and the Knight’s remaining travelers doing a solemn dance of death as he guides them away from the land of the living.

Much like my initial viewing of “Citizen Kane” I found this film to be more enjoyable than I had expected. This sensation can be condensed down to two major reasons why the film worked for me as a modern audience; humor and truth. Gunnar Bjornstrand’s character Jons was an unexpected source of humor in the film as the first half of the film paints the squire as a cynical brute with a penchant for singing tunes. We see him rough up a would-be rapist, Raval (Bertil Anderberg), while searching for water in the first act. However, Jons quickly recognizes Raval, the theologian that had convinced the knight to leave for the Crusades in the first place, and promises to brand him on the face if he sees him again-which he does, and he immediately fulfills that promise. The second half of the film shows his other half though, his comfortable acceptance of the world and its darkness, which leads into his sense of humor. One scene in particular has Jons providing lines to Plog the Blacksmith as the local smith tries to insult and threaten the theater troupe director that had run off with the blacksmith’s wife earlier in the film. It’s wonderfully played as the squire’s attention is piqued when the insults begin to fly and he makes his way to Plog’s ear to aid for his own enjoyment. There are other times throughout the film’s runtime when the darkly comic humor emerges, though the film is indeed mostly concerned with Antonius’ quest for answers.

Which leads me to the second reason the film worked, the truth in Antonius’ universally relatable problem, having doubt. Questioning the larger machinations at work can be applied to religion, but it could also be applied to government rule, as an example. Having a sensation of existentialism after experiencing doubt as to what was previously considered the standard way of life can be disorienting to say the least. Many people throughout time have felt that same sensation, it’s part of what makes a revolution so unsettling to some- and just as invigorating for others. The truth in the film is likely so well done because Bergman drew from his own inner turmoils about religion but also because of the way he crafted the world of his film as well. By creating a sensation of anxiety and fear from a threat as menacing as that of the black plague Bergman made the medieval world’s problems comparable to that of the 1950’s and now again in 2017, the fear of nuclear annihilation. Bergman thought of his film as an allegory for the 20th century, or the modern era, with the threat of the black plague resembling the cloud of anxiety that nuclear weapons now bring in its place. He was also inspired by the idea of art existing in dark times, which is brought to life in the film by the troupe of traveling actors bringing song and dance to various small villages even under the looming threat of the black plague. “In my film, the Crusader returns from the Crusades as the soldier returns from the war today. In the Middle Ages, man lived in terror of the plague. Today, they live in fear of the atomic bomb” – Ingmar Bergman. “The Seventh Seal” is a classic for a reason and if you want an entry point into the acclaimed filmmaker’s body of work, this is a fine start. “The Seventh Seal” is in the Criterion Collection and can be found on Filmstruck, a classic film streaming service that works with the Criterion Collection, as well.

Final Score: 1 Knight & 1 Bishop

*For more analysis of “The Seventh Seal” I suggest giving the video below a look, it helped me to more fully understand the film, hopefully you’ll find it of use as well.